[Search for users] [Overall Top Noters] [List of all Conferences] [Download this site]

Conference napalm::commusic_v1

Title:* * Computer Music, MIDI, and Related Topics * *
Notice:Conference has been write-locked. Use new version.
Moderator:DYPSS1::SCHAFER
Created:Thu Feb 20 1986
Last Modified:Mon Aug 29 1994
Last Successful Update:Fri Jun 06 1997
Number of topics:2852
Total number of notes:33157

11.0. "COMMUSIC Tapes - Liner Notes" by --UnknownUser-- () Wed Mar 28 1984 14:04

T.RTitleUserPersonal
Name
DateLines
11.1Topic DescriptionDYO780::SCHAFERBrad ... DTN 433-2408Thu Sep 29 1988 19:4414
    This topic will serve as a repository for Liner Notes for the COMMUSIC
    tapes. 

    Only those responsible for compilation and distribution of the liner
    notes should contribute to this topic.  Only complete liner notes
    should be entered here. 

    Please do not use this topic as a forum for submitting liner notes to
    the compiler.  Liner notes should be mailed to the appropriate
    individual.  Per tape reviews should take place in a seperate topic. 

    Procedures for submitting to and for ordering the COMMUSIC tapes are
    stored in the previous topic. 
    
11.2Tape IIWEFXEM::COTEThe Protocol Son...Thu Nov 03 1988 19:4630
                        -<   **  Computer Music  **   >-
================================================================================
Note 503.13                    Tape II Submissions                      13 of 40
JAWS::COTE "Let's change the rules and giggle!!!"    22 lines  19-JAN-1987 08:43
                           -< Guess What This Is!! >-
--------------------------------------------------------------------------------

    
                             Side I
    
    "Woo-Woo Love"              Karl Moeller
    "The Kiss"                   "     "
    "Satan Never Sleeps"        Mark Schmieder
    "Across The Ocean"           "     "
    "Vocal Ease"                 "     "
    "I Just Wanna Be On MTV"    Rik Sawyer
    "Still Loaded"               "     "
    "Cruise Control"            Jamaican Vacation (Stevie K)
    "Be My Girl"                    "       "         "   
    "Top Of The World"          John Sauter
    
                       Side II
    
    "Cannes"                    Edd Cote
    "Rio"                        "   "
    "Pastorale"                 Dervish   (Rob Davis)
    "Sveinung Hovensjo"           "           "
    3 Untitled                  Dave Bottom
    3 Untitled                  Paul Kent 
11.3Commusic III Liner notesDREGS::BLICKSTEINYo!Thu Nov 03 1988 19:46596
11.4Commusic IV Liner NotesDREGS::BLICKSTEINYo!Thu Nov 03 1988 19:56646
11.5Commusic V Liner NotesDREGS::BLICKSTEINYo!Thu Nov 03 1988 20:00566
11.6Liner Notes for COMMUSIC Tape I.DYO780::SCHAFERBrad - back in Ohio.Fri Nov 04 1988 15:49590
--------------------------------------------------------------------------------
Note 395.1           COMMUSIC Master Tape - Series I, Tape 1              1 of 6
                                -< Liner Notes >-
--------------------------------------------------------------------------------

    The following are liner notes for COMMUSIC Master Tape volume I,
    tape 1. 

    Liner notes are broken down into several sections.  The first section
    is simply a song/artist list to include with your copy of the tape.
    Sections following section 1 are submitters comments. These are
    organized in the same order that songs appear on the tape. 

WARNING -

    All songs appearing on this tape or any tape in this series are to be
    considered copyrighted by the submitter.  No unauthorized use or
    reproduction of any part of this material may be made without the
    express written consent of the submitter(s) thereof. It is permissible
    to make one copy of this tape for personal use.

DISCLAIMER - 

    Not responsible for typos in submitter's comments nor the technical
    accuracy thereof.  Any suggestions on the either the liner notes or the
    COMMUSIC tape itself should be forwarded to DYO780::SCHAFER. 


==============================================================================
COMMUSIC Master Tape Series	volume I, tape 1

  Side 1
    1. Just For Kicks				Dave Bottom
    2. Sometimes You Hurt Your Friends		Dave Bottom
    3. Bridge To Nowhere			Dave Bottom
    4. Introduction: From Songs Of Innocence	John Arnold
    5. Once A Year				John Arnold
    6. Hostage Of Nature			John Arnold
    7. Blend Trend				Todd Rhodes
    8. A001R					Todd Rhodes
    9. Alphaville				Karl Moeller

  Side 2
    1. Toccatta					Karl Moeller 
    2. Burning Passion				Dave Dreher
    3. I Can't Wait				Dave Dreher
    4. Acapulco					Dave Dreher
    5. I'm Sorry (That I Fell In Love With You) Edd Cote
    6. One More Chance				Paul Kent
    7. Life 					Paul Kent
    8. Chain Kisser				Derek Speed (DLQ)
    9. You're A Tease				Derek Speed (DLQ)
    10. I Met Your Parents			Derek Speed (DLQ)
    11. Fistful Of Passion			Derek Speed (DLQ)
    
===========================================================================

===========================================================================
DAVE BOTTOM	(MTBLUE::BOTTOM_DAVID)
-----------

I have submitted three pieces:

Just for Kicks

guitar: rhythm: strat
        lead:   Fender lead one/kahler tremelo system
        bass: JX3-P
        drums: TR-707
        amp: Fender studio lead
        DDL: Ibanez DM-1000
        vocals recorded through AKG D130
      
Sometimes you hurt your friends

guitar: Fender strat
amp: Fender studio lead
bass: Yamaha ??
drums: TR 707
synth: JX3-P
DDL: Ibanez Dm-1000
vocal mike : AKG D130

Bridge to nowhere

synth: Jx3-P
guitar: Fender lead one
drums: TR-707

All songs recorded on my Tascam 234 using a PE-20/EX-20 mixer system 
(very basic). Mastered on a Pioneer CTF-1000 using a dbx 128 dynamic 
range processor/noise reduction system.

Apologies for the distortion in bridge to nowhere, it was my first 
recording and the master is now destroyed, unfortunately the guitar solo 
was very satisfactory in my opinion. (and is now lost other than this 
version saved on a rough mix tape)


===========================================================================
JOHN ARNOLD	(BIZET::ARNOLD)
-----------

     Three Songs  -  John E. Arnold
     ==============================

     Introduction: From Songs of Innoncence

         Words: William Blake
         Music: John E. Arnold

         J.A. - Flutes, acoustic guitar, vocals


     Once A Year

         Words and Music: John E. Arnold

         J.A. - Acoustic guitar, bass guitar, vocals, sleigh bells
         G.A. - Organ (Hammond M-3), synthesizer (Mini-Korg)


     Hostage of Nature

         Words and Music: John E. Arnold

         Reading is from "Life and Campaigns of Napolean", Phillips, 
             Sampson, & Company, Boston, 1856

         J.A. - Acoustic guitar, vocals
         G.A. - Synthesizer, bass synthesizer (both Mini-Korg), reading,
                processed percussion (i.e., the gong is a slowed down
                crash cymbal being struck with a felt mallet)
         D.H. - Processed triangle (i.e., pitch change was done manually
                on the tape recorder)

     ==============================

     Recorded November - December, 1979.  Equipment included a Teac 2340SX 
     4-track reel-to-reel with dbx II, Teac Model 2A mixer, and a Pioneer 
     RT-701 Reel-to-Reel (for intermediate mixdowns and final mix) with 
     dbx II.

     All songs arranged and produced by the Arnold Bros. in association 
     with D.H. Perrin.

     All selections:  Copyright 1979 John E. Arnold
                      Performance copyright 1979 John E. Arnold
                       ^
                       |_ (i.e., "p in circle")
                      appear with permission of the copyright owner.


===========================================================================
TODD RHODES	(BARNUM::RHODES)
-----------

Liner notes for Todd Rhodes - Water Street Studios, Framingham Ma.

I.  Musical background:

	A drummer by background, I started drum lessions at age 9 and played
	in the band/orchestra in elementary school.  Got an accordian and
	took lessions for a year at age 11.  Realized that I liked drumming
	better.  Got my first drum kit and age 14 (small japanese junker), 
	and hacked around in a small rock band in junior high school.  
	Played in the high school stage (jazz) band, and also in a rock band.
	In 1980, I left my drumset behind, and took off to EE school at the
	University of Massachusetts, Amherst.  By graduation in 1984,
	I was very itchy (to say the least) to compose and perform music
	after being strictly a listener for 4 years.  Got a guitar, echobox,
	fuzzbox, volume pedal, and Synsonic drum box, and started recording.
	The studio grew from there.


II.  Studio description:

	1.  Recording:
		I use (2) 7.5" 2-track reel-to-reel tape decks, and utilize
		a bounce-and-add technique using a 6-to-2 mixer between
		the decks.   Also have a Kenwood Cassette deck used to
		put the final reel-to-reel version onto cassette format.

	2.  Musical Instruments:	
		1.  (1) Hand made solid body (ash) guitar with an Aria
		    neck.  It has (2) Super-II pickups, and one Arp Avatar
		    hex pickup.
		2.  (1) Arp Avatar guitar synth.  Just an Oddessey controlled
		    by a guitar rather than a keyboard.  It is two voice
		    (three including the guitar itself) monophonic.
                3.  (1) Simmons SDS-8 non-midi drum synthesizer.  Played
		    in real-time and also by an Arp Sequencer.
		4.  (1) Arp Sequencer to sequence the Avatar.  Output control
		    voltages also happen to be compatible with the SDS-8
		    triggering inputs.
		5.  (1) Commodore 64 interfaced with Sequential Circuits
		    keyboard.  Commodore sound chip is 3-voice polyphonic 
		    digitally controlled analog, each voice with its own
		    ADSR (not too shabby).  DCF is noisy and mis-designed,
		    so I put it through the ARP's. (Of course this means
		    no filter tracking.)
		6.  (1) Mattel (No comment necessary) Synsonics drum box
		    with builtin (primitive) sequencer.  No longer used.
		7.  Misc. Zildjian cymbals
                8.  Noname brand crummy mic for recording percussion.

	3.  Effects:
		1.  (1) Fuzz box.  Home made.
		2.  (1) DOD analog delay/echo unit.  Mono in/stereo out.
		    narrow bandwidth (~6k), and noisy.
		3.  (1) Boss volume pedal.  Used mostly to smoothly blend
		    a sound into the above echo box.
		4.  (1) Neptune rack mount mic/instrument mixer with a spring
		    reverb.  Reverb is absolutely gross.
		5.  (1) Midiverb.  Purchased after I recorded my submissions.
		6.  Aaron-Gavin Instruments 10-band stereo Graphic equalizer
		         
III.  Submitted Music

	Song #1	- "Blend Trend"
		First recorded drums using the SDS-8's, and then added the
		guitar and bass through the echo box.  I believe that there
		are only three tracks.  Done as a texture experiment.

	Song #2 - "A001R"  (named after my CRX's Yokohama tires that *really*
	     		    stick)
		First recorded the intro using the guitar/Avatar and SDS-8's.
		The Avatar was used for bass and background_melody in unison.
		After finishing the intro, I threw a switch (in real time) to
		start the sequenced (via the Arp sequencer) drums, and went
		immediately into the main body of the song.  Later mixed in 
		a ride cymbal track and a 2nd drum track.

Todd Rhodes, Water Street Studios (a.k.a. "Budget Studios")


===========================================================================
KARL MOELLER	(CANYON::MOELLER)
------------

ALPHAVILLE 10:38 long.

An extended semiimprovisation in a pseudoromantic style, Alphaville
began as a stereo solo piano track recorded on a TEAC 3340. Later 
received two tracks of (in various spots) string/horn/harpsichord 
using a Crumar Orchestrator. Added Juno 106 wind sounds during mix 
to stereo. Added bass line during stereo dub back to 4-track. Added 
a high plucked-string patch using DX7. Added rhythmic chordal punches 
at the climax near the end using both the DX7 and Juno. Mixdown to 
stereo. The original 4chord theme is reprised on piano only, with
only the wind sound to fade.

Does it work? I've heard nothing like it, stylistically, ever. It
feels like a modern piano concerto, except that the orchestra is
comprised of synths. It's almost 2 years old now and is probably
still my favorite.

TOCCATTA  4:30 long.

A short pseudobaroque rock instrumental on several themes, Toccatta 
contains more harmonic motion than most of my stuff. The original 
track was a DX7 on Perc Clav patch MIDI'd to a Juno on whatever. 
A track of Juno strings, phased, then 2 tracks of hand-played MXR 
digital drums. Rhodes added (faintly in the left channel) during 
mixdown to stereo. Dubbed back to 4-track. 2 tracks of Crumar strings, 
then mixdown to stereo; dubbed back to 4-track. Then a Crumar horn 
track (left chan), and finally, a grand piano track, on which
I really lucked out, tuningwise.  

This one's writing didn't come easy. The recording was a snap. 
However, I punched in a couple of places on the original DX7 track
and it shows. Ignored in the heat of the moment. Adding the piano
at the end is a complete reversal of my normal recording method;
however, it freed the piano from carrying the rhythmic and 
harmonic quackquack, and allowed it to 'float' atop all the 
baroque intensity. I liked the DX patch, as it would really 
crank when attacked. I like this one, too, and may redo it should
I ever sit down and compose a nice peaceful middle section
for it. 

Karl Moeller SWS Tucson AZ

===========================================================================
DAVE DREHER	(MASTER::DDREHER)
-----------

	My tape contains three entries.  Takes 1 and 3 are original 
	compositions.  Take 2 is a cover tune.  It was created
	on a Tascam 122 cassette deck and no noise reduction was used.
	The following text is a description of each take.


	1)  Burning Passion  -  by Dave and Ellen Dreher      January 1986

	All instruments were programmed or played by Dave Dreher.
	All vocals by Ellen Dreher.  Engineered and produced by D. Dreher 

	Equipment used:

		Tascam 38 8-trk
		Tascam 312 mixing board (12 X 4 X 2)
		Roland SDE-3000 digital delay
		Effectron 256 digital delay
		ART 01a digital reverb		
		DBX 160 Compressor
		Biamp 210 stereo equalizer
		Byter Polysynch master clock 
		LinnDrum
		Roland Jupiter-6 synth
		Roland Juno-60 synth
		Roland MD-8 DCB/MIDI interface (for Juno-60)
		Roland MSQ-700 sequencer
		Audio Technica ATM-41 microphone
		Gallen Kruger 250ml guitar amp
		Kramer guitar

	TRACK 1 -  Bass line (Jupiter, sequenced by MSQ-700)
	TRACK 2 -  Drums (LinnDrum)
	TRACK 3 -  Keys left  (Juno and Jupiter, sequenced by MSQ-700)
	TRACK 4 -  Keys right (Juno and Jupiter, sequenced by MSQ-700)
	TRACK 5 -  Rythim guitar (Kramer thru G/K direct into board)
	TRACK 6 -  Lead guitar (Kramer thru G/K direct into board)
	TRACK 7 -  Lead Vocals (Ellen)
	TRACK 8 -  unused



	2)  I Can't Wait  -  by Nu Shoz      April 1986

	All instruments were programmed or played by Dave Dreher.
	All vocals by Ellen Dreher.  Engineered and produced by D. Dreher 
	Mirage programming and sampling by D. Dreher and Bob Peterson.
	Drums were added on mixed down via LinnDrum off the synch track.
	An addition stereo Juno synth line was added real time on mix down.

	Equipment used:

		Tascam 38 8-trk
		Tascam 312 mixing board (12 X 4 X 2)
		Roland SDE-3000 digital delay
		Effectron 256 digital delay
		ART 01a digital reverb		
		DBX 160 Compressor
		DBX 166 Compressor/Noise gate
		Biamp 210 stereo equalizer
		Byter Polysynch master clock 
		LinnDrum
		Roland Jupiter-6 synth
		Roland Juno-60 synth
		Roland MD-8 DCB/MIDI interface (for Juno-60)
		Roland MSQ-700 sequencer
		Ensoniq Mirage sampling synth
		Audio Technica ATM-41 microphone
		Gallen Kruger 250ml guitar amp
		Kramer guitar
		Tamborine
		Glass of water

	TRACK 1 -  Bass line (Jupiter, sequenced by MSQ-700)
	TRACK 2 -  Rythim guitar and piano (Kramer thru G/K direct into board,
		   bounced with Jupiter piano patch real time)
	TRACK 3 -  Horns, tamborine and glass of water (glass of water and 
		   horns sampled by Mirage, sequenced by MSQ-700) 
	TRACK 4 -  Choppy guitar (Kramer thru G/K direct into board)
	TRACK 5 -  Backing vocals (3 part harmony by Ellen)
	TRACK 6 -  Lead Vocals (Ellen)
	TRACK 7 -  Sampled voice (Mirage, sequenced by MSQ-700) 
	TRACK 8 -  Synch tone (Byter polysynch to drive MSQ-700 and LinnDrum) 



	3)  Acapulco  -  by Dave Dreher      March 1985

	All instruments were programmed or played by Dave Dreher.  Engineered
	and produced by D. Dreher.  All synth parts were played	real time.
	This song was a 3-hr wonder between midnight and 3:00 AM.

	Equipment used:

		Tascam 244 4-trk
		Roland SDE-3000 digital delay
		Effectron 256 digital delay
		Tacsam spring reverb		
		DBX 160 Compressor
		Biamp 210 stereo equalizer
		LinnDrum
		Roland Jupiter-6 synth
		Gallen Kruger 250ml guitar amp
		Kramer guitar

	TRACK 1 -  Bass line and drums (Jupiter and LinnDrum)
	TRACK 2 -  Synth 1 (Jupiter)
	TRACK 3 -  Lead guitar (Kramer thru G/K direct into board)
	TRACK 4 -  Synth 2 (Jupiter)


===========================================================================
EDD COTE	(MENTOR::COTE)
--------

Title:     "I'm Sorry (That I Fell In Love With You)"

Arranged, Composed, Performed, Written and Recorded by:  Edd Cote

Piano:    Roland JX3-P

Flugelhorn:  Yamaha DX21

Bass:        Yamaha DX21

Drums:       Yamaha RX-21

Sequencer    Yamaha QX-7

Strings:     Roland JX3-P


Piano, bass, flugelhorn and drums recorded in real time direct to cassette.
Strings added "cassette to cassette" overdub in real time.

No outboard effects used.

Drum programming by Edd Cote.


===========================================================================
PAUL KENT	(MINDER::KENT)
---------

    The second song LIFE (I,ve never had to give it a title before) 
    dates back to when I first bought my basic home setup, which is 
    about September 85. Mostly it evolves around the use of a TASCAM
    144, an RX21, and a YAMAHA CX5. The only effects I had then
    where an HH tape echo. I was pleased with it at the time but in 
    reflection could think of one or two ways of doing things 
    differently. 
    
    The first song I recorded with a cold, hence the voice. Since the 
    first recording I had added A CZ1000, Ibanez digital delay and a
    Yamaha midi router. The drum snare sounds are given some false
    reverb by adding a slow decayed percussion sound sequenced from 
    the CZ. I am seriously considering buying a CZ101 just for packing 
    in the case when I'me away from home, you can do some great things 
    with this machine. The Guitar is a very old Jap copy of a Les Paul
    and is pretty much out of tune buy the end of the song. If I was 
    the perfectionist I ought to be, I would have re-recorded the last 
    lead guitar section. 
    
    Neither of the above songs were recorded using my latest 
    acquisition the MIDIVERB. I feel that this device alone has 
    created the biggest quantum leap in my recording ability, and 
    perhaps the next tape we create might reflect that. The next stage 
    I believe would be a bigger mixer than that on the 144. When the 
    band I was in at the time we bought it (about 6 year ago) we 
    thought that 4 tracks was a real luxury after the sound on sound 
    AKAI's etc. I still reckon I could get by on 4 tracks if I had a 
    reasonable way of getting more than 4 inputs to each track. So 
    next up is a 12-4-2 mixer I guess. Just wish I new where the money 
    was coming from.
    

===========================================================================
DEREK SPEED	(ADVAX::SPEED)
-----------
				Overview

The songs on the demo tape are a compilation of songs done by my band "The 
DLQ", which is short for "The Desirable Location Quintet".  The DLQ has 
been together, on and off, for approximately 4 years.  We got together 
initially to compete in a "Battle of the Bands" at Worcester Polytechnic 
Institute, where we were all engineering students.  After winning the 
"Battle", we decided that playing in a band was fun and continued to play 
at colleges, clubs, parties, etc. for the next two years.  We have recently 
undergone some long and painful personnel changes and are still looking for 
a lead vocalist.  We are in the process of completing work on a personal 
use 8 track studio (Studio 99) at the home of our bass player, complete
with separate rooms for recording and mixing. 

All songs on the tape are originals written by various members of the DLQ.

Members of the band (and instruments played on this tape):

	Greg Atkinson - lead and background vocals (no longer with the band)
	John Breen - lead and rhythm guitar
	Jack Calhoun - drums, lead and background vocals
	Jeff Copeland - bass guitar and background vocals
	Derek Speed - keyboards, lead and background vocals
	Dwayne Shores (played guitar in Breen's absence)

		"Chain Kisser" and "You're a Tease"

Both of these songs were recorded as demos in January 1985 at MCM Recording
Studios in Worcester, MA.  The mixes on the tape are rough pre-mixes done 
before the final mixdown.  Engineering was done by their own engineer 
(who's name escapes me), assisted by Derek and Jeff.

MCM gear:

	Soundcraft 2400 series console
	MCI 24 track analog multitrack recorder
	UREI 813 "Time-Align" monitors with Crown DC300 amplification
	Lexicon Super Prime Time Digital delay
	Roland SDE1000 digital delay
	Yamaha D1000 digital reverb
	AKG spring reverb
	dbx compressors
	Neumann, AKG, Shure, Audio Technica and EV microphones

Keyboards used:

	Roland JUNO-106 (recorded in stereo)
	Casio 202 digital synthesizer (Lexicon used to create stereo image)
	All keyboard parts are performed live (no sequencers)
	Lexicon used for chorusing; D1000 and AKG reverbs both used.

Lead vocals on "Chain Kisser" - Jack Calhoun

Lead vocals on "You're a Tease" - Derek Speed

Guitar by Dwayne Shores.

Bass guitar was taken direct, through a dbx compressor and into the board.  
Keys were also taken direct.  

Drum mics: 	Kick - EV RE20
		Snare - ATM 813
		Hat - AKG C515 electret condenser 
		Toms - Shure SM57
		Overhead (stereo) - AKG C515 electret condenser

Vocal Mic:	Neumann U47 tube condenser

Guitar mic:	Shure SM57

		"I Met your Parents"

This song was one of our most popular when we were playing live.  The 
lines:

       "I Like Sex
	I Met Your Parents
	I Like Sex
	I'm clean, I'm bright, and athletic"

used to cause some controversy, needless to say.

"Parents" was recorded basically live in Derek's basement using a Fostex 
X15 4 track cassette unit during the summer of 1985.  No real effects
except those by the musicians on their own instruments.  All instruments 
were recorded simultaneously; vocals were overdubbed later.  Mixing was
done on a Kelsey 12X3 mixer we used for live work.  Microphones were EV and
Shure, with bass and keys going direct. 

Keyboards - Roland JUNO-106 (no sequencers)

Lead vocals - Jeff Copeland and Greg Atkinson

Lead guitar - John Breen

		"Fistful of Passion"

Recorded during the winter of 1985 at AAA Studios in Boston, MA.  The mix 
on the tape was done at MCM in Worcester, MA.  Don't remember the names of 
the engineers.

AAA gear:

	Custom Allison recording console (phenomenal!)
	Old Ampex 16 tack deck (2" tape) 
	Lexicon PCM41 digital delay
	Lexicon series 200 digital reverb
	dbx compressors
	EMT plate reverb
	Many other effects
	Custom JBL monitors
	Linn Drum machine
	Scholz R&D Rockman
	Shure, EV, Neumann, AKG microphones

Keyboards used: Casio 202 digital synthesizer (no sequencers)
		Lexicon used for chorusing.

Keys, bass, Linn and guitar through Rockman were all taken direct into the 
board.  Drums were miked (sorry, don't remember the set-up).

Lead vocals: Greg Atkinson

Lead guitar: John Breen

===============================================================================
11.8Extract this handy tape labelTALK::HARRIMANYou're wierd, Sir.Wed Apr 26 1989 14:4140

	This is the COMMUSIC VI tape label source.

	To use this, extract and edit out these instructions,
	and run this through DOCUMENT using the command:

	$ DOCUMENT commusic-6.sdml CASSETTE LN03

	If you don't have the CASSETTE format in your DOCTYPE library,
	you can get an LN03 version from 
	BANTER::DISK$COMMUSIC6:[COMMUSIC6]COMMUSIC6.LN03

	I'll leave a PostScript version there too.

	/pjh


 <CASSETTE>(Commusic VI )
 <SIDE_A>(<LIST>(SIMPLE)
          <LE>Mitch Norcross: One Candle
	  <LE>Tom Janzen: Five Pieces After Jazz
	  <LE>Danz of Der Hockey Pucque
	  <LE>Two Creek Quartet
	  <LE>Steve Sherman: We'll Never Belong / Zoot
	  <LE>Ken Hitchmough: 200 Ft. AGL / Speedster / Walking in Chains
	  <LE>Paul Harmon: Intimate Enemy / Red Shift
	  <ENDLIST>
	 )    
 <SIDE_B>(<LIST>(SIMPLE)
          <LE>Paul Harriman: The Light and Form of Ordinary Joy / P.M. Song
	  <LE>Jens Moller: Alone Again
	  <LE>Dave Bottom: Blue Moon
	  <LE>Frank Rene:Vitour
	  <LE>Dan Eaton: Press On / John Mark
	  <LE>John Arnold: Silent Night / Jingle Bells
	  <LE>Mitch Norcross: Dreams
	  <ENDLIST>
         )         
 <ENDCASSETTE>
11.9COMMUSIC VI Liner Notes (Revised)DYO780::SCHAFERBrad - back in Ohio.Fri Apr 28 1989 19:30368
11.10COMMUSIC VII liner notesXERO::ARNOLDThe network is the addiction...Fri Mar 09 1990 11:54601
11.11Custom labelDREGS::BLICKSTEINConliberativeFri Mar 09 1990 12:15249
    This is a postscript file that prints a nice cassette label for
    Commusic VII.
    ----------------------------------------------------------------
 /inch {72 mul} def
 /savecur	    %saves current location in savex and savey
 {currentpoint /savey exch def /savex exch def} def
 /movecur	    %moves to saved location in savex and savey
 {savex savey moveto} def
 /nrtypefont /Helvetica findfont .12 inch scalefont def
 /scalesongs     %saves Times-Roman font on stack
 {/Times-Roman findfont exch scalefont setfont} def
 /testwidth	%tests string width
 {stringwidth pop 1.825 inch gt
 {savecur
 0 0 moveto 4 inch 2.3 inch lineto stroke
 0 2.3 inch moveto 4 inch 0 lineto stroke
 movecur} if
 } def
  0.150 inch  1.000 inch translate
 0 3.125 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.625 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 .9 setgray
 fill
 stroke
 0 setgray
 0 -.5 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.500 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 stroke
 0 -2.625 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 3.750 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 4 setlinewidth
 0 setgray
 stroke
 0.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 2.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 /Times-Bold findfont .22 inch scalefont setfont
 1 setgray
 gsave
 newpath
 0 0 moveto
 (A) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
 0.225 inch 2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (A) show stroke
 gsave
 newpath
 0 0 moveto
 (B) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
 2.225 inch 2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (B) show stroke
 0 setgray
 0 inch 2.3 inch moveto
 1.95 inch 0 rlineto
 4 inch 2.3 inch moveto
  -1.95 inch 0 rlineto
 closepath
 2 setlinewidth
 stroke
 1 setlinewidth
 .12 inch scalesongs
 0.125 inch  2.15 inch moveto
 (Mike Lynch) show
 (Mike Lynch) testwidth
 0.125 inch  2.03 inch moveto
 (    Ocean Time (Excerpt)) show
 (    Ocean Time (Excerpt)) testwidth
 0.125 inch  1.90 inch moveto
 (Steve Sherman) show
 (Steve Sherman) testwidth
 0.125 inch  1.78 inch moveto
 (    Brown Paper Sax) show
 (    Brown Paper Sax) testwidth
 0.125 inch  1.66 inch moveto
 (Tom Janzen) show
 (Tom Janzen) testwidth
 0.125 inch  1.54 inch moveto
 (    Molto Vivace from ) show
 (    Molto Vivace from ) testwidth
 0.125 inch  1.41 inch moveto
 (    Beethoven Symphony #9) show
 (    Beethoven Symphony #9) testwidth
 0.125 inch  1.29 inch moveto
 (Brian Rost) show
 (Brian Rost) testwidth
 0.125 inch  1.17 inch moveto
 (    The Towers) show
 (    The Towers) testwidth
 0.125 inch  1.05 inch moveto
 (    Crazy Mama) show
 (    Crazy Mama) testwidth
 0.125 inch  0.93 inch moveto
 (Karl Moeller) show
 (Karl Moeller) testwidth
 0.125 inch  0.80 inch moveto
 (    Jingle A) show
 (    Jingle A) testwidth
 0.125 inch  0.68 inch moveto
 (    January Piano (excerpt)) show
 (    January Piano (excerpt)) testwidth
 0.125 inch  0.56 inch moveto
 (    Latin #89 (excerpt)) show
 (    Latin #89 (excerpt)) testwidth
 0.125 inch  0.44 inch moveto
 (    The Minefield (excerpt)) show
 (    The Minefield (excerpt)) testwidth
 0.125 inch  0.31 inch moveto
 (    Lila's Dance) show
 (    Lila's Dance) testwidth
 0.125 inch  0.19 inch moveto
 (Mike Lynch) show
 (Mike Lynch) testwidth
 0.125 inch  0.07 inch moveto
 (    Maple Leaf Rag) show
 (    Maple Leaf Rag) testwidth
 .12 inch scalesongs
 2.125 inch  2.15 inch moveto
 (Bill Allen) show
 (Bill Allen) testwidth
 2.125 inch  2.04 inch moveto
 (    Right Time Blues) show
 (    Right Time Blues) testwidth
 2.125 inch  1.92 inch moveto
 (    A Mentor's Toye (for D.O.)) show
 (    A Mentor's Toye (for D.O.)) testwidth
 2.125 inch  1.81 inch moveto
 (    KHG-2 (trans. Bach)) show
 (    KHG-2 (trans. Bach)) testwidth
 2.125 inch  1.69 inch moveto
 (Peter Laquerre) show
 (Peter Laquerre) testwidth
 2.125 inch  1.58 inch moveto
 (    Enjoy Your Life) show
 (    Enjoy Your Life) testwidth
 2.125 inch  1.46 inch moveto
 (    Winnebago Free) show
 (    Winnebago Free) testwidth
 2.125 inch  1.34 inch moveto
 (Dave Blickstein) show
 (Dave Blickstein) testwidth
 2.125 inch  1.23 inch moveto
 (    The Low Calorie Blues) show
 (    The Low Calorie Blues) testwidth
 2.125 inch  1.11 inch moveto
 (Dave George) show
 (Dave George) testwidth
 2.125 inch  1.00 inch moveto
 (    New City) show
 (    New City) testwidth
 2.125 inch  0.88 inch moveto
 (    What's the Problem) show
 (    What's the Problem) testwidth
 2.125 inch  0.76 inch moveto
 (Mark Schmieder) show
 (Mark Schmieder) testwidth
 2.125 inch  0.65 inch moveto
 (    Native in a Foreign Land) show
 (    Native in a Foreign Land) testwidth
 2.125 inch  0.53 inch moveto
 (    Morning Breeze) show
 (    Morning Breeze) testwidth
 2.125 inch  0.42 inch moveto
 (    One Less Ear) show
 (    One Less Ear) testwidth
 2.125 inch  0.30 inch moveto
 (Mike Lynch) show
 (Mike Lynch) testwidth
 2.125 inch  0.19 inch moveto
 (    Eine Kleine Nachtmusic) show
 (    Eine Kleine Nachtmusic) testwidth
 2.125 inch  0.07 inch moveto
 (    Ocean Time (excerpt)) show
 (    Ocean Time (excerpt)) testwidth
 0 2.625 inch translate
 /Times-Bold findfont .15 inch scalefont setfont
 0.125 inch .175 inch moveto
 (COMMUSIC VII (Dave Orin tribute)                  ) show stroke
 0 -2.625 inch translate
 1.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 1.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 1.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 1.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 1.82 inch 2.36 inch moveto
 (B) show
 3.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 3.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 3.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 3.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 3.82 inch 2.36 inch moveto
 (B) show
 showpage
11.12COMMUSIC VII liner notes (added 1 line to db subm.)XERO::ARNOLDThe network is the addiction...Tue Mar 13 1990 15:52602
11.13COMMUSIC VIII Liner NotesAQUA::ROSTWho *was* Martin Lickert?Wed Jan 16 1991 18:28419

			COMMUSIC VIII

		The World's Most Dangerous Music

Welcome to the eighth COMMUSIC compilation tape.  A hearty welcome to those who
are new submittors here!  This tape has been compiled in no particular order,
mostly in the order that the submissions arrived.  Any complaints about audio
quality of this tape should be directed to me. 

					Brian Rost

RICK RYEN

	Foxy Lady

	Fire

	Riders on the Storm

	Rick Ryen: guitars, sequencing, vocals, recording

	John Gabrilli: vocals on "Riders"
	Alan Starr: slide on "Riders"

	Equipment: MT32, Proteus XR, Tascam 388, Shure SM58, Mesa amp, MC300
	sequencer, Strat, Les Paul

KARL MOELLER
	All three of my submissions involved original tracks on a Fostex 
	A8LR 8track, additional Kurzweil 1000PX and EMAX parts added via 
	MAC w/Performer, and were mixed to a Toshiba DX900 VHS deck in 
	14bit PCM format.  These are the most recent pieces I had as of 
	when I mailed the cassette off to Brian Rost.  Thanks, Brian!  

	- karl moeller Tucson Arizona USA

	p.s. I notice that I've pre-reviewed each of the pieces submitted, 
             so you can just use mine.  

"Ripping Off The Monks" 3:38  copyright c/p 1990  Karl Moeller 

	This is an atmospheric yet intense piece in F Phrygian (flat 2nd, 
	sharp 3rd, flat 6th) mode.  I think.  No chord changes.  The vocals 
	were stolen from a Bulgariphon release called "Angeloglassniyat" 
	('angel-voiced'), written by a 14-century monk called John the 
	(you guessed it) Angel-voiced.  The record isn't even an import,
	it was given to me several years ago by a real Bulgarian Communist.  
	I'll bet he's changed his spots some since then.  I took only one 
	channel from the record and mixed it to stereo with some highend EQ 
	rolloff, lots'o'reverb, and MIDIfex stereogen thickener.. going for 
	smooth.  We don't have a copyright extradition treaty with Bulgaria, 
	do we ?  

	I first added bass & toms, recorded direct (no computer).  The bass 
	line is a compound sound using KZ electric bass, with a velocity 
	switch to thumb pops, layered with a light, tuned KZ percussion sound, 
	which when run into my MIDIfex stereo delay patch 31, gives a nice 
	side-to-side syncopation.  The toms are a combination of Kurzweil 
	and EMAX toms.  The EMAX toms are a stereo layer, which when summed 
	to mono gives a nice subtle flanged sound, as well as some stick 
	definition.  Part way into the piece the toms are run thru the 
	stereo delay, giving lots of stereo imaging and some killer 
	syncopation.  

	Then I added an FSK sync track, and played the remaining stuff into
	MAC&Performer.  The Kurzweil Singers kick in about half way into the 
	piece, followed by a MIDI-delayed KZ piano #17 track.  It took lots of
	playing with EQ and lots'o'mixes to get the proper balances, esp. 
	the delayed stereo toms vs. the repetitive bass line. I think this 
	one is 'sweeping and powerful'.  Special thanks to John the 
	Angel-voiced, c/o Atman Central.

"Relentless" copyright c/p 1990  Karl Moeller 

	This was a (Kurzweil) Rhodes/bass echo improv on cassette, rescued,
	EQ'd, and re-cued to 2 channels on the 8track.  I then did the FSK 
	Sync thing, and recorded another 5 parts, incl. EMAX and Kurzweil 
	strings, and KZ 'echo lead' analog-sounding melody lead.  Added an
	EMAX stereo Fairlight breathy vocal pad.  No percussion at all, 
	except for a light layer of tuned KZ percussion behind the Rhodes
	and bass on the cassette original.

	A favorite.  Actually has chord changes.  Probably needs compression
	before it qualifies for radio play.

"Sunscape" copyright c/p 1990  Karl Moeller 

	The basic track for this also came from cassette, from '86 or '87,
	using a Roland MKS-20 piano and a Kawai K3 sample & hold patch.  
	Minor release to COMMUSIC folk on my "Unreleases" 90-min cassette.

	Dubbed the cassette track to 8track, FSK sync to MAC thing.  Big 
	percussion c/o Kurzweil.  EMAX drone tamboura track drifts in and out.
	Occasional EMAX stereo thunder, just for impact (no redeeming social 
	qualities).  It's meant to nail your meters.  The thunder, with 
	attendant lightning, was a big hit ;-) at the planetarium show. 
	Actual backward KZ flute w/delay comes in from time to time.  Final 
	sweetening with the exact same identical EMAX stereo Fairlight 
	breathy vocal pad as used in 'Relentless'.  Tsk.

	Science fiction rock.  No chord changes.  Sounds big, null content.  

TOM BENSON
    Jenny's Lullaby 

	- a lullaby written for friends of ours who are new parents, and 
	  given to them on the baby's first birthday.

    Fatboy and Chubs Theme

	- a theme song for an imaginary Saturday morning cartoon, based on
	  a comic book a friend of mine did. As you can probably guess,
	  they are two overweight superheros. They have utility belts
	  filled with Hostess Ho-ho's, licorice (rope), etc, and one of 
	  Fatboy's powers is microwave vision.  To clarify the lyrics, 
	  The Lunchbox is their hideout.
		
    These were all done using Dr. T's KCS on an Atari ST, with a Korg DSS-1 
    and Roland D110. The lullaby also had a bit of Kawai K1m.


Tom

RICH COCCOLI 

  All songs written and performed by Rich Coccoli/Paul Gierman
Everyman copywritten 1990/Autoerotica copywritten 1989 by Coccoli/Gierman.
From the collective work " My Secret Life or How I Survived The Nuclear Age",
copywritten by Coccoli/Gierman 1990

  These two songs were recorded at Mannik Studio, Snug Harbor, Staten Island.
  Big thanks to Marsha and Ray for putting up with us (no small feat), taking
  our money(quite easy), and feeding us brie and crackers(yum).

The equipment:

  Roland D110 (for most of the sounds)                                         
  Kawai K1r   (for strings)                  
  Emax        (bass and snare drums on "Everyman")
  Voyetra     (horns in "Autoerotica")
  Korg M1     (snare drum in "Autoerotica")
  HR 16       (for hi-hats)
  DX7 II      (for added bass layer in both songs) 
  Atari 1040 St running Creator/Notator smpte'd to the 8 track.
  Various effect devices, including the dreaded Digitech MSP4 "flange o' matic".

  The synths were synched to the smpte striped track on the eight-track tape
  and went straight to dat without any noise reduction. Interesting effect
  to hear the analog tracks "catch up" with the midi when starting a song in
  the middle. Ain't technology weird.

The Songs:
  
  Everyman  (Paul on vocals)
  
  Written together in Paul's living room after an extremely festive summer
  bar-b-que, this song pretty well sums up the type of music we are into
  composing/performing. I re-vamped the guitar solo and backing while in the 
  studio, trying to get a more "live" feeling.
    
 
   Autoerotica  (Paul on lead vocals..Rich on backing)
  
   A favorite with our fans. We've plans to do a video of this in early
  summer, 1991. It's about a cross between the robot woman from Fritz Lang's 
  "Metropolis" and a vintage Chevy. Don't ask me any more. It gets nebulous. 
  The kyoto solo at the end was done with my Casio MG510 midiguitar. I find it
  comical.


  Enjoy,
        Rich Coccoli


The Pariah Effect is

  Paul Gierman..vocals, sax, flute and programming
  Rich Coccoli..vocals, guitar, synths, programming and sound creation


EDD COTE
"Rumble" - written by Chick Corea, Not Bernie's Publishing Inc.
           (c) 1986, GRP Records, Inc.

Originally performed on "Elektrik Band" by Chick Corea and Dave Weckl.

Listen to this piece LOUD!!!

I've been working on this for what seems like an eternity, but probably
comes close to a year. The drum sequencing alone took me the best part of a
month, and is still subject to tweaks. 

My performance is a combination of real time and step time. I'm shameless 
in my use of quantization and micro-editing.

Instrumentation:

           Drums:              Alesis HR16
           Bass:               Yamaha TX81Z, layered.
           Electric Piano:     Yamaha TX81Z
           Lead Synth:         Yamaha DX21, layered, different porto-rates.
           Brass:              Ensoniq Mirage
           Pad:                Roland MKS30
           FX:                 Alesis MVII (Drums, ambience)
                               Roland DEP-5 (lead synth, echoes)
           Mixers:             Korg 602, Peavey XR-1200
           Monitors:           Ohm E speakers, Koss HV1-A phones
           Sequencer:          Roland MC-500
           Critic:             aja the cat

All patches created by me.

Mixed direct to stereo cassette. Something went wrong in the mix-down, and
I've yet to find out what. I often check the mix in "mono" mode while in the
studio, and found no problems. However, when I moved the cassette to a different
system and played it back in mono, ALL the bottom drops out, leaving the piece
all but unlistenable. C'est la vie...

TOM JANZEN

             These three selections were automatically generated by my
             AlgoRhythms computer program. It is about 3000 lines of C for
             the Amiga. AlgoRhythms is a windowed graphical environment
             for automatic composition. The user specifies overall form,
             musical scales, rhythmic boundaries, and MIDI. Form is
             defined as the separate slow sinusoidal variation each of
             mean pitch number, pitch number range, mean velocity number,
             velocity range, mean duration, duration range, texture (how
             many voices play at once), giving seven sine waveforms.
             Range is displayed as a vertical thickness of the mean
             waveform, enabling the seven parameters to be displayed as
             4 waveforms. Random pitches, velocities, and durations are
             found within their current respective ranges. Static forms
             are made by specifying extremely long wavelengths for the
             form sinusoids. There was no post-editing or adjustment.
             AlgoRhythms improvises in real time direct-to-tape. The
             sounds were created by MIDI synthesizers.
             My own TX81Z patch loading software was used to load the
             instrument set-ups.

             o  Piano Concerto 6:00
                This is an excerpt of a 20-minute form. I seem to recall
                that it is all on the white keys, like the Kurzweil demo
                at the Computer Museum. Of 16 maximum voices, every other
                voice is a piano. The remaining voices are miscellaneous
                orchestra-instrument-like sounds. AlgoRhythms permits
                transposition during playing, and I could have made use of
                this to lend a harmonic progress to the work.


             o  Gamelan 3:00
                A static form with four voices (flute and mallet
                instruments) playing as fast as they can.


             o  JAM2 3:00
                This static form is calculated to resemble free jazz from
                a jazz quintet. I recall that it uses either a Hungarian
                minor or melodic minor scale. The two top voices ("sax",
                "trumpet") use a synthesizer feature to play in parallel
                intervals. A guitar-like sound fills the middle while a
                bass-like sound accompanies. A cymbal is hit irregularly.


BILL GRUNDMANN

All of these songs were done with a Macintosh SE, Sonus
MacFace, 2 Roland MT-32s, and a Roland Juno-1 which are
mixed with a stereo resistive mixer. I used some home-brew
sequencing software I call Music Machine. 

The songs include the mix. There is no master tape, I just
run off copies directly from the system as I need them.
They're all written in my sequencer language. I never needed
to play a keyboard to do them (but I did doodle on the
keyboard to try out various ideas). 


disco very
----------
Fooling around with using short notes percussively, and
cramming brief dissonances in front of notes in the melody,
it evolved from there. 

bass |:  
bass       C---   Eb--/  G--.   Bb-F-  
bass    |: Eb---  F--/   G../   Eb-D- :|x2
bass       C---   Eb--/  Ab--.  Bb-F-  
bass    |: Eb---  F--/   G../   Eb-D- :|x2
bass :|x2

The intro is fragments of the bass line, which eventually
become continuous. The middle section is filled with a bell
tone pattern that has a cycle of 9 notes phasing against the
4/4 beat. There's a transposition at the start of the middle
section, but because the melody is missing and the bass is
minimal, it sort of hangs in limbo until the end of the
middle section. When the melody re-enters, the transposition
feels complete. I was pleased to discover how that resulted
in a sort of tension to occur throughout the middle. I guess
the off beat open high hat is sort of disco-ish, thus the
name. Lots of reverb on this one, which is over-powering on
headphones, but which works pretty well on speakers... 


CBabbage
--------
The tone sequence C B A B B A G E is used at various speeds
and retrograde, to form the basis of this song. Why this
sequence? Computers? Charles Babbage? I don't know, it just
came out this way. 


clocks are skiing
-----------------
I was playing with the MT32's Hi Bongo, Rim Shot, and Hand
Clap to make ticking clock sounds. Making the tempo 120
beats per minute helps the effect. I used some sysex
commands to the MT32 to control the master volume to achieve
the fade-in and fade-out. The echoes are spaced at dotted
1/16ths intervals. I alternated channels to side step a
problem with some of the echoed notes prematurely clipping
off the main melody's notes. That was easier than changing
the MT32's note assignment mode. 

part3                     chan5, p,
part3 cue part3a 1/32,... chan6, 
part3 cue part3a 1/32,... chan5, 
part3 cue part3a 1/32,... chan6,
part3 cue part3a ||

The echoes intermingle into patterns that are high speed
versions of fragments of the melody. I enjoy listening to
this pattern at various speeds, it has a kind of fractal
nature to it, being interesting at different scales of
tempo. 

  schematically, if you numbered the notes:

      1...2...3...4...5...6...7...8...9           main melody
      ...1...2...3...4...5...6...7...8...9        echo 1
      ......1...2...3...4...5...6...7...8...9     echo 2
      .........1...2...3...4...5...6...7...8...9  echo 3
      1..12.123123423453456456756786789789.89..9  combined effect


A Fistful of Fives
------------------
This is based on the number five. The basic rhythm is 5/4,
and the repeated patterns are mostly five measures long: 

bass  |: E---  D---  --G-  --D-  --B-  :|x5
snare |: ../.  ....  /...  ../.  ../.  :|x5
bassd |: /...  ../.  ....  /./.  /./.  :|x5

The glissandos are explicitly typed-in sequences:

sweep3 chan3, prog125, 1/16, fff, {3 C#4D# F#G# A#C# D#F# G#A# C#D# } ||


air gap
-------
This is supposed to be a high tension piece. Picture an
electric spark jumping across an air gap. 

There are two basic rhythmic sections, one in 4/4 with the
snare beats in the wrong places (relative to standard
rock!), and one in 10/4 with the beats somewhere... Although
it repeats, there is no familiar pattern. My goal is to make
it feel out of balance and unexpected. 

ride  |: /./. ../. ../. ../. ../. ../.  ../. ../. :|x8
snare |: ../. .... /... ....  .... /... .... /... :|x8
bass  |: /... ../. ../. ../.  /... ../. /./. ../. :|x8
 
ride  |: /./. ../. ../. ../. ../. ../.  ../. ../. ../. ../. :|x7  
snare |: ../. .... ../. .... /... ....  .... /... .... /... :|x7
bass  |: /... ../. /... ../. ../. ../.  /... ../. /./. ../. :|x7 

The section in 10/4 has chords that are in 7/4. The chord
pattern gets in phase with the drums just as the section
ends. 

The ending is a repetition of the 10/4 section, with the
last beat removed from each pass, until nothing remains but
one beat's worth of a fragment. I hope it might bring forth
the vision of an electric charge building up until finally
it jumps the air gap. 

EIRIKUR HALLGRIMSSON

	Rain
	(for David Orin, 1946-1989, pillar of the COMMUSIC community)
	
	I    The Storm
	II   The Meaning of Home
	III  Coda	

	Triumph
        (for Betsy Bennett)


MICHAEL WOLFE

	Midnight Vibrations

	On Top Of It

Studio: Otari MX5050 8 track, Otari MX5050 4 track, Pioneer RT1050 2 track,
Teac V670 cassette, Alesis Quadraverb, two Boss BX80 mixers

Listening Equipment: Adcom GFA545 amplifier, Hafler preamp, B&W DM330 speakers,
Quart Phone 30 headphones

Instruments: Korg Poly 61, Ovation 6 string acoustic, Epiphone hollow body
electric, Fender Squier bass, Roland R5 drum machine

11.14COMMUSIC VIII Philips Box LinerAQUA::ROSTWho *was* Martin Lickert?Wed Jan 16 1991 18:30189
Here's a postscript file which will print out a liner for COMMUSIC 8.  Edit the
file where it says to cut, then run to a postscript printer.

							Brian

----------cut here---------------------------------------------------------
 /inch {72 mul} def
 /savecur	    %saves current location in savex and savey
 {currentpoint /savey exch def /savex exch def} def
 /movecur	    %moves to saved location in savex and savey
 {savex savey moveto} def
 /nrtypefont /Helvetica findfont .12 inch scalefont def
 /nrsymbolfont /Helvetica findfont .09 inch scalefont def
  0.150 inch  1.000 inch translate
 0 3.125 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.625 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 .9 setgray
 fill
 stroke
 0 setgray
 0 -.5 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.500 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 stroke
 0 -2.625 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 3.750 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 4 setlinewidth
 0 setgray
 stroke
 0 2.625 inch translate
 /Times-Bold findfont 11 scalefont setfont
 0.125 inch .29 inch moveto
 (COMMUSIC VIII                           ) show stroke
 0.125 inch .06 inch moveto
 (The World's Most Dangerous Music        ) show stroke
 0 -2.625 inch translate
 0.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 2.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 /Times-Bold findfont 16 scalefont setfont
 1 setgray
 gsave
 newpath
 0 0 moveto
 (A) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
  0.225 inch  2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (A) show stroke
 gsave
 newpath
 0 0 moveto
 (B) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
  2.225 inch  2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (B) show stroke
 0 setgray
 0 inch 2.3 inch moveto
 1.95 inch 0 rlineto
 4 inch 2.3 inch moveto
  -1.95 inch 0 rlineto
 closepath
 2 setlinewidth
 stroke
 1 setlinewidth
 1.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 1.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 1.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 1.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 1.82 inch 2.36 inch moveto
 (B) show
 3.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 3.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 3.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 3.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 3.82 inch 2.36 inch moveto
 (B) show
 /Times-Roman findfont 10 scalefont setfont
 0.125 inch  2.10 inch moveto
 (RICK RYEN Foxy Lady/Fire      ) show
 0.125 inch  1.95 inch moveto
 (Riders on the Storm           ) show
 0.125 inch  1.80 inch moveto
 (                              ) show
 0.125 inch  1.65 inch moveto
 (KARL MOELLER Ripping Off      ) show
 0.125 inch  1.50 inch moveto
 (The Monks/Relentless/Sunscape ) show
 0.125 inch  1.35 inch moveto
 (                              ) show
 0.125 inch  1.20 inch moveto
 (TOM BENSON Jenny's Lullaby    ) show
 0.125 inch  1.05 inch moveto
 (Fatboy and Chubs Theme        ) show
 0.125 inch  0.90 inch moveto
 (                              ) show
 0.125 inch  0.75 inch moveto
 (RICH COCCOLI Everyman         ) show
 0.125 inch  0.60 inch moveto
 (Autoerotica                   ) show
 0.125 inch  0.45 inch moveto
 (                              ) show
 0.125 inch  0.30 inch moveto
 (EDD COTE Rumble               ) show
 2.125 inch  2.10 inch moveto
 (TOM JANZEN Piano Concerto     ) show
 2.125 inch  1.95 inch moveto
 (Gamelan/JAM2                  ) show
 2.125 inch  1.80 inch moveto
 (                              ) show
 2.125 inch  1.65 inch moveto
 (BILL GRUNDMANN                ) show
 2.125 inch  1.50 inch moveto
 (disco very                    ) show
 2.125 inch  1.35 inch moveto
 (CBabbage/clocks are skiing    ) show
 2.125 inch  1.20 inch moveto
 (A Fistful of Fives/air gap    ) show
 2.125 inch  1.05 inch moveto
 (                              ) show
 2.125 inch  0.90 inch moveto
 (EIRIKUR HALLGRIMSSON          ) show
 2.125 inch  0.75 inch moveto
 (Rain/Triumph                  ) show
 2.125 inch  0.60 inch moveto
 (                              ) show
 2.125 inch  0.45 inch moveto
 (MICHAEL WOLFE                 ) show
 2.125 inch  0.30 inch moveto
 (Midnight Vibrations           ) show
 2.125 inch  0.15 inch moveto
 (On Top Of It                  ) show
  4.225 inch  0.000 inch translate
 showpage
11.15COMMUSIC IX Philips Box LinerRGB::ROSTHand out the arms and ammoWed Nov 06 1991 10:59185
    Here's a postscript file which will print out a liner for COMMUSIC IX. 
    Edit the file where it says to cut, then run to a postscript printer.

							Brian

----------cut here---------------------------------------------------------
    
 /inch {72 mul} def
 /savecur	    %saves current location in savex and savey
 {currentpoint /savey exch def /savex exch def} def
 /movecur	    %moves to saved location in savex and savey
 {savex savey moveto} def
 /nrtypefont /Helvetica findfont .12 inch scalefont def
 /nrsymbolfont /Helvetica findfont .09 inch scalefont def
  0.150 inch  1.000 inch translate
 0 3.125 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.625 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 .9 setgray
 fill
 stroke
 0 setgray
 0 -.5 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 0.500 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 stroke
 0 -2.625 inch translate
 0.000 inch 0.000 inch moveto
 4.000 inch 0 rlineto
 0 3.750 inch rlineto
 -4.000 inch 0 rlineto
 closepath
 4 setlinewidth
 0 setgray
 stroke
 0 2.625 inch translate
 /Times-Bold findfont 11 scalefont setfont
 0.125 inch .29 inch moveto
 (COMMUSIC IX                             ) show stroke
 0.125 inch .06 inch moveto
 (                                        ) show stroke
 0 -2.625 inch translate
 0.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 2.125 inch 2.362 inch moveto
 0.200 inch 0 rlineto
 0 0.200 inch rlineto
 -0.200 inch 0 rlineto
 closepath
 fill
 /Times-Bold findfont 16 scalefont setfont
 1 setgray
 gsave
 newpath
 0 0 moveto
 (A) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
  0.225 inch  2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (A) show stroke
 gsave
 newpath
 0 0 moveto
 (B) true charpath
 flattenpath
 pathbbox /hei exch def /wid exch def clear
 grestore
 newpath
  2.225 inch  2.462 inch moveto
 wid -2 div hei -2 div rmoveto
 (B) show stroke
 0 setgray
 0 inch 2.3 inch moveto
 1.95 inch 0 rlineto
 4 inch 2.3 inch moveto
  -1.95 inch 0 rlineto
 closepath
 2 setlinewidth
 stroke
 1 setlinewidth
 1.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 1.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 1.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 1.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 1.82 inch 2.36 inch moveto
 (B) show
 3.600 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 3.700 inch 2.360 inch moveto
 0.080 inch 0 rlineto
 0 0.100 inch rlineto
 -0.080 inch 0 rlineto
 closepath
 fill
 1 setgray
 3.623 inch 2.41 inch .035 inch 270 90 arc
 closepath fill
 3.757 inch 2.41 inch .035 inch 90 270 arc
 closepath fill
 0 setgray
 nrtypefont setfont
 3.82 inch 2.36 inch moveto
 (B) show
 /Times-Roman findfont 10 scalefont setfont
 0.125 inch  2.10 inch moveto
 (ERROL PHILLIPS O'Samba        ) show
 0.125 inch  1.95 inch moveto
 (Caribbean Pearl               ) show
 0.125 inch  1.80 inch moveto
 (Cyril's Castian               ) show
 0.125 inch  1.65 inch moveto
 (Caribe Jump                   ) show
 0.125 inch  1.50 inch moveto
 (TOM BENSON Polka Divine       ) show
 0.125 inch  1.35 inch moveto
 (Relics of a Future            ) show
 0.125 inch  1.20 inch moveto
 (Civilization/Curious Goods    ) show
 0.125 inch  1.05 inch moveto
 (STEVE SHERMAN How It Goes     ) show
 0.125 inch  0.90 inch moveto
 (Ones and Zeros                ) show
 0.125 inch  0.75 inch moveto
 (TOM JANZEN                    ) show
 0.125 inch  0.60 inch moveto
 (Day Book For Orchestra        ) show
 0.125 inch  0.45 inch moveto
 (Fuga a 2 Clav                 ) show
 0.125 inch  0.30 inch moveto
 (Fugue 3 for 4 Voices          ) show
 2.125 inch  2.10 inch moveto
 (RICK RYEN                     ) show
 2.125 inch  1.95 inch moveto
 (Incognito                     ) show
 2.125 inch  1.80 inch moveto
 (Zoop                          ) show
 2.125 inch  1.65 inch moveto
 (JOHN ARNOLD                   ) show
 2.125 inch  1.50 inch moveto
 (Industrial/Polyphony          ) show
 2.125 inch  1.35 inch moveto
 (BRIAN ROST                    ) show
 2.125 inch  1.20 inch moveto
 (Scriabin                      ) show
 2.125 inch  1.05 inch moveto
 (Get A Whiff Of This           ) show
 2.125 inch  0.90 inch moveto
 (BILL GRUNDMANN                ) show
 2.125 inch  0.75 inch moveto
 (Ocean Once A Canoe            ) show
 2.125 inch  0.60 inch moveto
 (Jetway 7                      ) show
  4.225 inch  0.000 inch translate
 showpage
11.16COMMUSIC IX Liner NotesRGB::ROSTHand out the arms and ammoThu Nov 07 1991 10:52374
Welcome to COMMUSIC IX, The Great White Wonder.  Thanks to all the submittors
for sending in their tapes and their patience in waiting for this thing to get
finished.  Now on to the liner notes:

SIDE ONE

Errol Phillips

O'SAMBA

Instruments:
 -Ibanez Bass
 -Yamaha Nylon String Guitar
 -Korg M1 (Flute, Elect. Piano and synth)
 -Roland U220 (Congas and percussion)
 -Alesis HR16 (Drums)


I wrote this especially for COMMUSIC VIII, the previous tape but withdrew my
submission at last minute.  Anyway, I wanted to do something that allowed 
me to play my bass and guitar and of course use my PPS-1 to do tape sync. I
listened to a lot of Brazilian music growing up and I enjoy playing and writing
with that feel so I wanted to put a piece on the tape that reflected that.

I created the melody for the head (verse) then I used my guitar for
arranging the chords and added chord for the other sections for which 
I had no melody at the time. I created four bars of the basic rythmn on the
HR16 got a tempo I liked and recorded the sync tone to tape.

I then recorded the guitar and bass parts. While they were no more than 
a couple takes each, that process took about ten hours. I had problems
recording the signal however once I figured out that I should not put bass 
next to the sync tone, I was in good shape.

The solos are all first takes and rest of the melody just sort of fell
in place. The only change I have made to the original is change part
of the melody to the bridge.

While this song was done simply to try out my PPS-1, it has turned out to
be the favourite of everyone who have listened to my tape. 


ISLAND PEARL
 Instruments:
 -Korg M1 (Guitar, Flute, Pads, Drums)
 -Roland U220 (Bass, Organ, Steel Pan, Congas and percussion)
 -Alesis HR16 (Hi-Hats)

This song was one those things that just popped out of my first session
with the M1. The intention was to ease into a calypso and then ease back
out.  The calypso section is reminiscent of the calypsoes of the 50's.  

BTW: Pearl is my mother who encouraged me to play music and helped support
my early music habit. She also helped me hide my quatro from my father.


CYRIL'S CASTIAN
Instruments:
 -Venezuelan Cuatro 
 -Korg M1 (Lead bass, Guitar, Elect. Piano, flugel horn, saxes)
 -Roland U220 (Bass, castinets, pads)
 -Alesis HR16 (Hi-hats)

This song like the name suggest is a castian or based on that form
anyways. This music was played quite a bit in Trinidad when I was growing
up and came from the spanish influence in the island. This music is still
played a lot of course in Venezuela and other South American countries.
The cuatro is four-stringed instrument about twice the size of a ukelele.

After my initial success with tape syncing I figured I go for it again with
the cuatro.

Incidently this song was composed in a music store, I was trying out
a U20 and the Fretless Bass patch just did it to me.

BTW: Cyril is my father, whom when I asked him to buy me a cuatro, demanded 
that I was not to waste my time playing any musical intruments. Needless to 
say I went out and bought a Mickey Mouse ukelele which I tuned like a cuatro 
(the first four string of a guitar with a low E instead). He did buy first 
electic guitar though, but that's another story.


CARIBE JUMP
 Instruments:
 -Korg M1 (Brass, Solo sax, Flute, Elect. Piano, Drums)
 -Roland U220 (Bass, Organ, Congas and percussion, Sax (layered with brass))
 -Alesis HR16 (Hi-Hats)

This is an experiment with the soca beat (soca is the new form calypso has
taken). Actually I sort of mixed things up a bit. The bass at times is
playing what could be a brass line, the bass drum and snare combined are 
doing a guitar strum.  

This acutally is one of the many dance type songs that I have done. I like
doing dance music as well as.......

Solo are as played no editing or punch-ins, cause I love to play. If I had
a decent guitar and mic and knew the first thing about recording I would do 
the guitar leads but I could not come close to the M1's fidelity same for bass.


Tape syncing was done with a Porta 1. (To my chagrin)

Diclaimer: This music was done for my enjoyment, others who have heard it 
throught no fault of mine have convinced me that I should even let others 
hear it.

This is my first attempt at finishing some off the many ideas that I have
laying around in my head and my Voyetra sequencer. 

    
  Tom Benson

  All of my contributions were recorded on a Tascam 246 4-track, and
  sequenced using Dr T's KCS on an Atari ST.
    
  Polka Divine
	An 'audio Christmas card' I did a couple of years ago. It explains
	how the angels brought Polka to the world to share their joy at 
	Christmas.  Roland D110 and Korg DSS1 sampler.

  Relics of a Future Civilization
	This was done for a friend of mine to accompany a piece of artwork
	she did, of the same name. It probably helps to see the art.
	Kawai K1m, D110, DSS1.

  Curious Goods
    	I had been doing a lot of midi-only stuff when I remembered that
    	the reason I got into it to begin with was as accompaniment for
    	guitar and violin. So Curious Goods was an attempt to get back to
	that. Much more time was spent on the sequencing than the guitar
	playing, though...  This got 'honorable mention' in Guitar Player
	magazine's last reader's tape contest. Proteus 1 and Roland D110,
	with Gibson L6-S guitar and T.F.Barrett electric violin.


    
Steve Sherman

	1. "How It Goes" - 4:07
	2. "Ones and Zeros" - 5:50

"Copyright 1991 by Steve Sherman", blah, blah, blah.

Equipment: MC50, D70, a spectrum analyzer, eyes, fingers, mind and ears.

Comments:  No comments.  I like my stuff, so there.  Hope I get rich ...  ;^)

    
Thomas E. Janzen

	Selections from "Kunst der Fuge" ("The Art of Fugue")
	all selections 
	copyright (c) 1750 Johann Sebastian Bach All Rights Reserved

	All selections were played one part at a time at low tempo
	into a sequencer and edited for clean up.
	All selections (P) 1991 Thomas E. Janzen All Rights Reserved.

	1.  "Day Book" for orchestra (excerpt) 2:30
		copyright (c) 1979 Thomas E. Janzen
		Arrangement and Sequencing: T. Janzen
		Production, recording, and synth programming: Len Fehskens.
		(Thanks Len!)

		This is the Contrapunctus (or Fuga) I for four voices.  It was 
		transcribed about 15 years ago from the Kalmus pocket score, 
		which used C clefs for the top soprano, alto and tenor.  This 
		work does not appear on my albums "The Nearly Complete Works"
		because I do not have the resources to record it.  I played
		each of 13 parts from a keyboard controller.  Some reverb is 
		used.  The orchestration is motivic.  Every motif in the fugue
		was classified as a member of one of about 6 motivic families.
		The orchestra was likewise divided into about 6 families of
		sounds.  The two families were aligned; every time a motif
		is heard, it is heard in the same family of instrumental
		sounds.  I recall that percussion is used to accentuate subject 
		entrances.  This approach is somewhat different from Webern's 
		in the Ricercata from Bach's Musical Offering; Webern 
		partitioned that fugue's subject into three groups.  Within 
		each of many statements of the subject, he assigned the same 
		instrument to each group.  Different statements used the same 
		groupings, but different instruments.  Most other counterpoint
		went to the string section, until the end when Webern caved in 
		and made a traditional heavily-weighted finish.  In this Fugue,
		I have assigned motifs by color throughout subject statements 
		and answers, as well as counterpoint.

		My score from 1979 is on vellum (for ozalid ammonia-based
		printing on heavy stock paper) and was my last score drawn in 
		permanent ink using templates and straight edges.  Except for 
		lettering, it looks better than most computer-printed scores.
		I had to stop doing that; it took forever to copy a score.
	
	2.  Fuga a 2 Clav	1:55

		From the Carl Czerny's reduction for piano of Art of Fugue.
		The polyrhythms resemble those that open Act II Scene 2 of
		Porgy and Bess, so I used hand drums to highlight the
		rhythms.  There are no effects, and the two claviers
		are separated by channel (left/right).

	3.  Fugue 3 for 4 voices	2:22

		I used an automatic round-robin voice assignment to
		complicate the rhythms.  This fugue was #2 in the
		Berlin autograph.

    
SIDE TWO

Rick Ryen

INCOGNITO

	This is one of my favorite Spyra Gyra tunes.
	I step-time sequenced the song from a score.
	I was not pleased with the sound of the alto-sax
	part in the early part of the song, and found it
	difficult to get the feel of a real alto sax. So,
	I used a preset called "RB's Wine", which sounds like
	somone running a wet finger on the top of a wine glass.
	This put the sax part in more the background, but the
	melody can still be heard. I suspect that my choice
	of preset will be disturbing to some, but it works for me.

ZOOP
	This is one of my first attempts at an original 
	composition for keyboard. I acquired the basic drum 
	patterns from a Roland drum pattern library. I selected 
	different patterns, and then modified the selection of 
	percussion instruments. I also created a number of custom 
	percussion sounds, primarily by reversing the samples. My
	Proteus was new to me, and I enjoyed playing with these
	"new" sound modification gadgets. The song is called ZOOP,
	because that is what some of the reversed drum timbres sound
	like to me. I'm not a keyboard player, and this song is an
	example of my novice (real-time) keyboard chops. The chord 
	pattern is similar to a run from the Ventures song, 
	"Walk Don't Run". I purposely kept the structure of the 
	song simple, because I didn't want to create any contrast 
	with my obviously weak chops.

    
John Arnold

Industrial/Polyphony
Copyright 1991 John E. Arnold and Gordon B. Arnold

part 1 by John E. Arnold
part 2 by Gordon B. Arnold

produced by the Arnold Brothers, August/September 1991

Industrial/Polyphony was written, performed, and produced from August ??
to September 1, 1991.  Track 1 (the opening percussion part) was entered in
step time and `humanized.'  Track 3 was entered via a Roland Pad-80
(Octapad II) in real time.  All other parts were entered via a Roland A-80
controller in real time.  Volume settings for the tracks were entered 
using the continuous controller editing tools provided by the sequencer
(Master Tracks Pro v4.5.3 for the Macintosh).

This piece is the first time that my brother and I worked strictly with a
sequencer as our `recorder.'  The first time these sounds hit tape was when
I dubbed a copy to give to Brian Rost for the COMMUSIC IX master tape.

The primary sound source used is a Kurzweil 1000PX with the optional
soundblock A.  The background bagpipe snippet was generated using an
Ensoniq EPS-M sampler (sample purchased from greytsounds) providing the
only part NOT produced by the Kurzweil in real-time.  The reverb is a
Lexicon LXP-1.  Part 2 of this piece really highlights the 24-note
polyphony of the Kurzweil.  I honestly have no idea if there is any
note-stealing going on but, if there is, I certainly can't hear it.

For those interested in such things, the following is the track sheet from
the sequencer when the track was completed:

Track/Chan  Patch Name (most are presets, some customized)
1           Out To Lunch
2           Pirates Strings
3           Cymbals
4           Organ
5           Bridge piano   (this track was not used)
6           Horns
7           Piano 1
8           Piano 2
9           Acoustic Bass
10          Flute
11          Clarinet
12          Piano and Slow Strings
13          Strings
14          Argyle Bagpipe


    
Brian Rost

These pieces are typical of the sort of thing I muck about with for fun.  I
usually noodle on the keys for awhile, come up with a line I like, load it into
the sequencer and then try adding other parts, etc.  Basically it's just  an
improvisation that I have the ability to go back and edit; I don't think of it
as composition, as it's too scattered.  I keep working on pieces until they
sound either finished or too mangled to warrant further effort (I've got plenty
of the latter).

"Scriabin"

Alexander Scriabin was a Russian composer who died just before the First World
War.  He is considered one of the central links in the chain that led from
tonal music to atonal music, not to mention that he was a real weird character
who was into music as a way of elevating consciousness. Too bad he died long
before the Summer of Love.  In his last composition, "Prometheus", he invented
his "mystic chord", a stack of fourths, which looks like this with a C root: C,
F#, Bb, E, A, D.  I used this chord as the basis for this piece.  I guess I've
been listening to "Music From the Hearts of Space" too much. 

"Get A Whiff Of This"

On his last tour stop in Boston, Kitaro dropped over my house to quaff a few
brews and talk about the influence of Okinawan rap music on the compositions of
Glenn Branca.  We got a bit carried away, pretty soon we ran out of beer and
went on to harder stuff.  Shortly before he glued his mustache to the table
while sniffing Crazy Glue, Kit banged this out on my synth.  Luckily, I still
had enough brain cells left to think of turning on the sequencer to record
this.  It needed a bit of quantizing, but otherwise, it's what he played before
vomiting all over the keyboard (which is audible at the end of the piece).

    
Bill Grundmann

program name		song title		playing time

Astral Fountain		Ocean Once a Canoe	4:55
Jazz Fountain		jetway 7		9:28

Astral Fountain is a program I wrote, which accepts any
title and uses it to generate sequences of numbers which
select the voices, notes, fade rates, etc. Several voices
can be active at once. They each go through a sequence: they
are born, live a while, and die. Then new ones take their
places. Everything is predetermined at birth. Voices are in
two basic classes: legato and stacatto. 

Legato voices swell up, hold, then fade out. They play two
notes throughout. Sometimes the swell control also controls
pitch bend. 

Stacatto voices continuously play a melody which fades in,
holds, and fades out. The melody is generated by a state
machine that steps through a sequence of intervals. If the
sequence ends up on the same note as it started, the melody
simply repeats throughout the voice's life. If not, the
melody walks up or down the scale. When it hits an extreme
high or low pitch, all the intervals are reversed, and it
walks back the other way. 

Jazz Fountain is an earlier attempt at writing a program
that writes music. It is more strongly forced into a form.
The chords are generated by stacking thirds. The bass line
is a sampling of the chord roots with scale steps inserted
in between. The bass rhythm is a combination of fixed
patterns (plus a few random ones) which are randomly cut and
pasted together. The melody is generated similarly, just a
little looser. The drums are selected from a small list of
patterns. There are a few fills that get used when the song
moves into a new section. 

Sections are randomly constructed from single measure pieces
that are chained together. Chunks of previously played
chains are randomly replayed. This generates an interesting
mixture of repetition and novelty. There is a "stuck"
detector that notices things have gotten stuck in a loop,
and it kicks into a new section by changing a bunch of
things all at once, most importantly, the chord progression.